A Chinese Ghost Story I Ii Iii -1987-1990-1991-... Today
"A Chinese Ghost Story" series (the original tetralogy of popular Hong Kong films and related sequels/spin-offs) centers on supernatural romance, Qing-era settings, a mix of horror and comedy, elaborate wire-work action, and recurring motifs of doomed love between humans and spirits. This guide evaluates the three primary films commonly grouped together: A Chinese Ghost Story (1987), A Chinese Ghost Story II (1990), and A Chinese Ghost Story III (1991). It covers context, themes, filmmaking craft, performances, cultural significance, and how to watch and assess each film critically.
Few film trilogies capture the whiplash of tone, the breathtaking visual poetry, and the raw emotional catharsis of A Chinese Ghost Story (Sinnui yauman, also known as A Chinese Ghost Story). Produced by the legendary Tsui Hark and directed by Ching Siu-tung (the action choreographer behind The Bride with White Hair and Hero), the three films—released in 1987, 1990, and 1991—form a loose, interconnected saga. They are not a single continuous narrative but variations on a theme: a hapless, gentle scholar, a beautiful and tormented ghost, and a thunderous Taoist swordsman battling the forces of a demonic underworld.
What begins as a tragic romance deepens into a political allegory about chaos and order, and finally softens into a comedic, bittersweet fable about second chances. Together, they represent the pinnacle of Hong Kong’s “flying swordsman” (wuxia) and supernatural horror-romance genres.
The trilogy is a time capsule of Hong Kong cinema's golden age (1986–1993).
From 1987 to 1991, the A Chinese Ghost Story trilogy set a benchmark for East Asian fantasy cinema.
Beyond the Silk Robes: The Wild World of A Chinese Ghost Story (1987–1991)
If you haven’t experienced 1980s Hong Kong cinema, you’re missing out on a specific kind of beautiful, high-octane madness. At the center of it is the A Chinese Ghost Story A chinese ghost story I II III -1987-1990-1991-...
trilogy—a fever dream of gravity-defying swordplay, tragic romance, and giant, soul-sucking tongues.
Produced by the legendary Tsui Hark and directed by Ching Siu-tung, these films redefined "ghostly cinema" by mashing together horror, comedy, and martial arts into something totally unique. A Chinese Ghost Story (1987): The Masterpiece
The first film is a certified classic. It follows Ning Choi-san (the late, legendary Leslie Cheung), a bumbling debt collector who has to stay in the haunted Orchid Temple because he’s too broke for an inn. There, he meets Nip Siu-sin (Joey Wong), a beautiful ghost forced to lure men to their deaths by her master, a terrifying Tree Demon with a massive, prehensile tongue. Why it works:
The chemistry between Cheung and Wong is enchanting, and the wire-work action is breathtaking.
Wu Ma as the eccentric, rap-singing Taoist monk who helps Ning fight off the underworld. A Chinese Ghost Story II (1990): The Political Sequel
Here’s a concise, engaging blog-style response based on your title idea: "A Chinese Ghost Story" series (the original tetralogy
Title: A Chinese Ghost Story I, II & III (1987–1990–1991): The Tragic, Beautiful, and Bizarre Hong Kong Fantasy Trilogy
If you think you know ghost stories, think again. The A Chinese Ghost Story trilogy (originally Sinnui yauman), produced by Tsui Hark and directed by Ching Siu-tung, redefined the wuxia-horror-romance genre. But what makes this trilogy so unforgettable? Let’s break it down.
Part I (1987): The Tragic Love Story
Leslie Cheung as the hapless debt collector Ning Caichen, Joey Wong as the ethereal ghost聂小倩 (Nie Xiaoqian)—their chemistry is heartbreaking. The film blends supernatural terror, Taoist exorcists (Wu Ma as the iconic Swordsman Yan), and a doomed romance. The tree demon (Lau Siu-ming) is pure nightmare fuel. The bamboo-lodge fight scenes? Still breathtaking.
Part II (1990): Bigger, Louder, More Political
Following the success, the sequel ups the scale. Ning Caichen is mistaken for a rebel, fights a centipede demon, and teams up with a female swordsman (Michelle Reis) and a cheeky monk (Jacky Cheung!). Less romance, more action. But some argue the soul of the first film gets lost in the chaos. Still, the flying guillotine-like magic and Buddhist imagery are stunning.
Part III (1991): A Bittersweet “Soft Reboot”
Set 100 years later, a new monk (Tony Leung Chiu-wai, very young and monk-ish) battles the same tree demon and falls for a different ghost (Joey Wong again—now playing a seductive spirit). The tone is darker, more erotic, and more tragic. Wang Zu-xian’s double role cleverly echoes the first film but ends in devastation. Tony Leung and Joey Wong are magnetic.
Why Watch?
Final Verdict
Part I is a masterpiece. Part II is messy fun. Part III is a sad, poetic echo. Together, they capture a moment when Hong Kong cinema was fearless—mixing horror, martial arts, and romance with beautiful, haunting results.
Have you seen them? Which ghost broke your heart the most?
A Chinese Ghost Story trilogy (1987–1991) is a definitive pillar of Hong Kong cinema, blending action, supernatural horror, and tragic romance . Produced by and directed by Ching Siu-tung
, the series is loosely based on Pu Songling's classic short story "Nie Xiaoqian" from Strange Stories from a Chinese Studio The Original Trilogy
Use these dimensions to assess each entry. Score each from 1–10 and add brief notes.
| Dimension | A Chinese Ghost Story (1987) | A Chinese Ghost Story II (1990) | A Chinese Ghost Story III (1991) | |---|---:|---:|---:| | Story & Screenplay | 9 | 7 | 6–7 | | Direction & Tone | 9 | 7 | 7 | | Visual Style | 9 | 8 | 8 | | Effects & Action | 8 | 8 | 8–9 | | Music & Sound | 9 | 7–8 | 7 | | Performances | 9 | 7–8 | 7 | | Cultural Resonance | 9 | 7 | 6–7 | | Rewatchability | 9 | 7–8 | 7 | | Modern Accessibility | 7 | 7 | 7 | | Overall Enjoyment | 9 | 7.5 | 7 | The trilogy is a time capsule of Hong
(Adjust scores per your taste; table intended as a quick guide.)
